Harp transcription practices in the last centuries: a journey through the craft of transcribing music to rediscovering the art of harp writing. Transcribing Ravel

Despite harp transcriptions being a significant part of the traditional harp repertoire, there is no source specifically focused on the transcribing processes, the moral implications of the transcriber and the tools the player has in order to be able to transcribe and perform music written for another instrument- in this case, the piano. The following research dives into the 19th century emerging phenomena of transcribing; various piano transcriptions and subsequently, harp transcriptions, in order to distinguish patterns or tools previously used by other transcribers. Additionally, the process of transcribing works of M.Ravel (“La valley des cloches”, the “Prelude”, “Menuet”, “Rigaudon” from “Le tombeau de Couperin” and the waltzes no. 3 and 8 from “Valses nobles et sentimentales”) is being documented and serves as field of exploration. As a result, we distinguish between different types of transcriptions, based on various criteria. Technical possibilities of the instrument are questioned in the process, as some of the done transcriptions are novelty and thought to be unplayable on the harp priorly. Critical thinking is applied and new transcribing tools emerge from the process. In conclusion- each transcription project is an individual project, each piece needs to be thoroughly studied before, and there is no singular set of rules or aestheticism to follow in the process; the technical tools offered by the instrument need to be further explored and employed in the attempt to better our understanding on the harp’s vast possibilities and to expand our knowledge on the never-ending processes of music making.